tragedy it was loosely based on -- were outraged that filmmakers would so quickly capitalize on a brutal true-life crime. Me? I thought it a fantastically built upon suspense yarn that explodes into unrelenting, and horrific terror. I was disturbed and unsettled... and I like that. Gone didn't deserve to be shoved aside because of the other film's controversy. In fact, outside of some similarities in their storytelling maneuvers, the films are quite different.
|Hmm... you think this cage this guy has behind us is some kinda foreboding omen?|
|They didn't sign their postcards|
|He's attracted to me? Oh please.|
Much like Wolf Lake, the film takes its time to let the characters breath, to interact and react to each other. The performances are pretty much solid, with Scott Melchlowicz pulling off the double-edged task of being both charismatic and slimy. And the direction by Ringan Ledwidge is so wonderfully subtle. Nothing is obvious, and that's exactly why this flick works as a suspense thriller. The character of Sophie could've easily been the usual pissy, underappreciated hot girlfriend, but Ledwidge steers Amelia Warner towards a performance that is more genuine. She's a girl who wants to enjoy her time with her boyfriend and gets effected by the change she sees in him. She's definitely a cute girl, but her looks and fashion sense are downplayed, so as not to be just some body for the camera to focus onto.
|Yeah, she's mine. Can't you tell?|